Marine animals are starving to death and being poisoned by plastic. Our civilization creates over 260 million tons of plastic waste each year, much of which ends up in the oceans.

“A rare Gervais beaked whale was found on a beach in Puerto Rico with ten pounds of twisted plastic in its stomach. The ball of plastic caused the whale to starve to death. It was a juvenile female, and was emaciated due to not eating for days.”

- care2.com

"A whale has died in southern Thailand after swallowing more than 80 plastic bags, officials said, ending an attempted rescue that failed to nurse the mammal back to health."

- japantimes.co.jp

In Leviathan, Koroni explores a life and death narrative of three marine animals affected by plastic pollution. The dancers embody these mysterious, intelligent and graceful beings. Our approach to non-human character exploration challenges the anthropocentric traditions of art and dance where animals are often reduced to two-dimensional symbols of human drama.

Koroni appeared in The Girl with the Alkaline Eyes is a dance theater narrative from The Chase Brock Experience, a 70-minute thriller featuring a commissioned score and live music.

Power on. A developer toils through the night building a secret project: a woman, with circuitry instead of flesh and eyes that shine electric blue. But man and machine are connected by a deep desire that sparks an irreversible chain of lust, creation, and destruction.

“Chase Brock’s eclectic résumé includes Spider-Man: Turn Off the Dark on Broadway, Roméo et Juliette at the Met, and Last Week Tonight with John Oliver. He is a showman with an eye to a wide audience, and the work he has created for his own company reflects his sentimental storytelling bent.” – The New York Times

“In this seventy-minute groundbreaking dance theater piece, we explore what really could be possible in the future, a proposed infiltration of artificial intelligence. Chase Brock's choreography is incredibly specific, creating clear patterns for living that need no dialogue or further explanation. The specificity of the dance, mixed with Brock’s theatrical staging and heartfelt storytelling, sweeps you away on this journey. Combined with Eric Dietz’s moving original score, performed live by a trio helmed by Rob Berman, the complexities of emotion and machine are effortlessly mixed to follow the shocking twists this story takes.” – Theatre is Easy

“The members of The Chase Brock Experience are, indeed, attractive and also mighty good dancing actors, perfect performers for Brock’s psychological and emotional work, his most complex work as a modern dance concert choreographer. Eric Dietz wrote the intriguing, cliché-free scenario as well as composed the elegant classical style score, brilliantly choreographed, leading to a denouement that is staged with beautiful simplicity, reminiscent of the ending of Jordan Harrison’s Marjorie Prime, another work dealing with cyborgs and emotional memories.” – TheaterScene

Exhibition: The 10th Anniversary of the Glass House opening as a site of the National Trust for Historic Preservation – Julian Schnabel: Paintings that I hope Philip and David would like & Robert Indiana: One Through Zero

The Chase Brock Experience returned to the Fire lsland Dance Festival – produced by and benefiting Dancers Responding to AIDS – to perform Splendor we only partially imagined (originally commissioned by DRA for their Hudson Valley Dance Festival in 2015). After a successful performance of the work at Hudson River Dance Festival in June, CBE was excited to revive this joyous dance for such an important cause.

Jonah Bokaer and Daniel Arsham With an original score by Pharrell Williams Arranged and co-composed by David Campbell

May 2016 - Winspear Opera House - Dallas, TX, USA

September 2016 - Brisbane Festival - Brisbane, Australia

September 2016 - Biennale de la Danse - Lyon, France

November 2016 - Guggenheim Museum - New York, NY, USA

November 2016 - BAM Next Wave Festival - New York, NY, USA

February 2017 - Cap UCLA - Los Angeles, CA, USA

June 2017 - INFANT Festival - Novi Sad, Serbia

Choreographer Jonah Bokaer’s (ECLIPSE, 2012 Next Wave) crisp, elegant movement aesthetic animates visual artist Daniel Arsham’s offbeat architectural environments in this evening of three works, celebrating a decade of collaboration. An original score by Pharrell Williams for the Dallas Symphony Orchestra sets the tone in Rules Of The Game (2016), a new work for eight dancers inspired by the absurdist antics of Luigi Pirandello’s play. In Why Patterns (2011), set to Morton Feldman’s eponymous 1978 score, four dancers play unpredictable games with 10,000 ping-pong balls. And in the sublimely simple RECESS (2010), Bokaer restages his signature solo specifically for the BAM Howard Gilman Opera House stage, featuring lighting by designer Aaron Copp.

Frameline 40: the San Francisco International LGBT Film Festival - Official Selection

NewFest LGBT Film Festival - Official Selection

Miami Gay & Lesbian Film Festival - Official Selection

North Carolina LGBT Film Festival - Official Selection

James Koroni stars in a luscious, black-and-white queer neo-noir that exposes the complexities of male identity and sexuality through its four diverse characters as they question the responsibilities of adulthood while leaving behind their boyhoods. This New York City-set homage to the French New Wave explores each character’s daddy issues as they shed their inhibitions and clothes during softcore porn shoots to make money and survive within a pulsating urban landscape.

"Life has thrown me a gift. It was given to me by Jonah Bokaer and the Shared Studios and wrapped in a gold shipping crate. I have been given the opportunity to laugh, dance and stand face to face for the first time in my life with my family in Tehran, Iran. I felt as though we were breathing the same air.

At 19 years old my father lost his fight to cancer, I didn't know the magnitude of what I had lost. I'd just finished my teenage years, left the mormon church and came out of the closet. My confused and distracted heart was not fully open to knowing my father. It's been ten years and my longing to connect with him eats away at me. Not because I haven't accepted the loss, but because I haven't found a satisfying way to truly connect with my extended family who live in Iran.

Jonah was familiar with my family heritage and knew Shared Studios space and "Portal To Tehran" project would ripen my relationship with them. The potential to bridge the gap between unlikely spaces, people and time with this project is remarkable!"